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在我的印象里,陈世忠的篆刻大致可分为两类:一是以吉金甲骨、楚简帛书为母语文本,进行巧妙的嫁接;另一类是近似于魏楷、隶书的印化。两者都不能归入正统的秦汉印或流派印,其基调既非古典文人式小桥流水、“杨柳岸,晓风残月”的浅吟低唱,也非吼几嗓子秦腔般的苍凉激越,而是如听姜育恒、罗大佑、
In my impression, Chen Shizhong’s carvings can be roughly divided into two categories: one is using Jijiajian and Chu bamboo books as mother tongue texts, and the other is similar to Wei Kai and the official script. Both can not be classified as the orthodox Qin and Han India or India, its tone is neither classical literati bridges, “Yangliu shore, Xiaofeng Canyue ” Shades chant, not roar a few throat Qin desolation Agni, but if listening to Jiang Yuheng, Luo Dayou,